Jonathan keeble flute bio

Feb 23rd, I just love Dr. He cares for his students as artists and as people. Hell take you to the next level and beyond. And beyond that, too. Respected Hilarious Caring. Dec 26th, A simply amazing flutist and teacher. If you want to move to the next level, Dr. Keeble is the one. Respected Inspirational Hilarious. Jan 17th, He is fantastic!

Although his emphasis is more on Performance Majors, he really does care for everyone in his studio. Non-performing weekly auditors may attend all sessions, which include optional private lessons with SPU faculty Sandra Saathoff. Application Available. Daily auditors may pay at the door. SPU offers accommodations in campus apartments for participants taking this workshop for continuing education credits.

One or two individuals may share a room. There is free parking in commuter lots during the summer for all attendees. Home Page. Flute Studio. Home Studio. Then there are what I like to refer to as the absolutes in music — rhythm, correct notes, clean runs, and intonation. Finally, as anyone who works with me knows, I focus on sound. This is the audible manifestation of who we are as artists.

It is the reason music exists, communicating the ineffable, and through means we will likely never know, transforming the spirit. My father once told me he viewed a great lecture as having a central theme, and all of the other ideas swirl around that theme. I suppose a lesson with me is kind of like that. At the heart of every lesson, whether explicitly stated or not, lies the question of sound and its role in the music.

All of the other elements swirl around that core. Sometimes we take significant excursions into rhythm, change an element of posture, and so on, but sound is always at the center. Having said all this, I do not teach because I love just the flute, or music. I treasure teaching, and I absolutely love working with my fabulous students.

You love to talk about color while teaching, yet you are partially colorblind. Or worse yet, perhaps he was colorblind! Although we frequently talk about color in music, this is a far more complex topic than primary colors, or even some of the non-primaries that I have trouble distinguishing between. The term color in flute playing is a convenient, helpful jonathan keeble flute bio word that is just a step toward artistic phrasing.

Color in music is linked to personal experience informed by, among other things, painting, food, nature, literature, and on and on. On a purely physical level, it was not until I switched to my current flute that I began to realize some of what was additionally possible with color. This flute is so gratifying for its pitch and color flexibility.

Consequently, nuance and color have become a part of my vocabulary in such a way that ten years or so ago I would have never thought possible. Every player has to find his or her own path on this, but the relationship between body, instrument and score are critical to this process of discovery. Beyond that, for me and my students, it is about complex vowel shapes in the mouth, and where and how we direct our air that allows us to explore metaphor, artistic narrative, and what the score says in pursuit of more colorful, meaningful artistry.

What is your favorite flute performance you have ever given? Perfection is an illusion, never realized but still sought. For me, performing is about enjoying the moment for what it is and constantly striving to improve. I am always looking forward. It is what drives me. What projects are you working on? The Aletheia Duo is in the middle of a second recording of music for flute and harp by composers of the Americas.

I am also starting to get things together for a recording of concertos by North American composers. These are both big projects, and I keep getting slowed down by day-to-day teaching, performing, and parenting. What is the best advice you can give to aspiring musicians and artists? Practice hard, live fully, love honestly, and remain positive and professional in all facets of your career.

His solo and chamber recordings are available on Albany Records. Favorite Warm-Up. Harmonics overblown at the octave plus a 5th, and double octave are my favorite way to make sure my sound is resonating clearly and also has vertical color and projection. Begin with a low B, and overblow it to a top of the staff F. Make sure the harmonic F has depth of harmonic color, and does not have an overtone hiss to it.

Jonathan keeble flute bio

Once you achieve a rich, round sound, switch from the harmonic F fingering to the real fingering. Move on to a low C, overblown to a top of the staff G, and repeat this. Continue going up chromatically until you reach the first B above the staff, and switch your harmonic fingering to the double octave. In other words, finger a low B, and overblow it two octaves to the B above the staff.

To work on this, perform the warm-up discussed above, but now introduce vibrato. Advice for College Auditions 1. Make a wonderful first impression. Research suggests that people make assessments within the first 45 seconds and then spend the rest of the audition backing up that judgment. Have ready answers to the most likely topics or questions an auditioner might ask.

Have questions to ask as well. Since her concerto debut with… Read more. Denis Bluteau Class description Denis Bluteau completed his music studies at the Conservatoire de musique de Chicoutimi under the guidance of Mr. Jean Morin, and later at the University of Montreal, where… Read more. Michael Cox Michael Cox enjoys a rich and varied musical life.